A Blog with reviews of opera performances, interviews and articles about opera and classical music in general
by a group of musicologists and music professionals

Tuesday, 28 July 2015

Franz Schubert, Lazarus - Salzburger Festspiele, Felsenreitschule

Performance 24th July

The first concert I attended at the Salzburg festival was part of the Ouverture spirituelle and featured two most interesting fragments by Schubert. First the famous "Unfinished" symphony and the also unfinished "Lazarus".
The concert was conducted by Ingo Metzmacher who is a master of colorful intellectual interpretations. He made all the different colors and shades of darkness from the gloomy score of Lazarus to hearable and managed to give a most pleasurable performance. The Camerata Salzburg seemed to have some issues to fulfill all his requirements and seemed not totally harmoniously. Especially during the beginning of Lazarus there obviously were some serious issues because Metzmacher stopped the performance after the first few minutes and started everything again leaving the audience quite surprised.
The symphony was performed very interesting with a magnificent dynamic range that really impressed me a lot. The dramatic flow of the first movements was just ravishing and left me breathless while the second movement seemed to be not as exact as the other one.
After the second start also Lazarus went off very well and the orchestra managed to follow Metzmacher's instructions without any issues. The Bachchor Salzburg gave a wonderful performance during the few choral passages and sounded very spiritual and pious. The soprano solo during the second part sung by Bachchor member Anna Hempel who sang her part very well with a very beautiful and delicate voice.
The role of Simon was performed by Thomas E. Bauer who seemed a little bit mannered from time to time. Also I sometimes thought his voice could be a little broader, but anyway I had a fine overall impression.Sophie Karthäuser gave a very bright and light Jemina with a clear upper register and a very soubrette-like timbre. She performed her small scene during the first part very well.Werner Güra sang the role of Nathanael and convinced with a very delicate and soft tenor voice. His portrayal was very touching and the role suited his noble voice perfectly. Especially during the delicate parts he was really impressing.
As Martha we heard German soprano Christiane Libor, who was a pleasing contrast to the light sopranos. Her Wagner-proven voice convinces with great balance between powerful stamina and delicate pianissimi. It is such a pity that the work stops during her exciting aria of the second part.
Lazarus' other sister, Maria, was performed by Marlis Petersen who also has a very light but clear soprano voice. Her timbre is not as light as Karthäuser's but still is very clear and beautiful. Her aria during the first part was sung very beautifully and made a great impression.
Last but not least Maximilian Schmitt sang the title role of Lazarus with a very noble and youthful tenor voice. His portrayal of the dying protagonist was very touching and he managed to really deliver the drama of his character.
So in the end I can say that the performance was some kind of strange and sublime at once. Nevertheless it was a pleasure to hear those interesting pieces in the matching ambiente of the Felsenreitschule (rock riding school). Salzburg's Lazarus gets 8 stars.✰✰✰✰✰✰✰✰- -

Daniel Url, B.A.

Daniel Url is a Musicologist from Salzburg, who studied in Salzburg (Austria), Trondheim (Norway) and Newcastle upon Tyne (United Kingdom). His research interests are opera (especially German opera), theory of the fine Arts and vocal music in general. While living in the wonderful town of Salzburg (with the great Salzburg Festival around) he is also travelling to some of the great opera houses in Germany and Austria from Leipzig over Dresden and Vienna to the Bavarian state opera in Munich.

Daniel is the founder of this project and also our main editor and author. For questions, notes or any business inquiries:

daniel0url@gmail.com

Lukas Leipfinger, B.A.

Lukas Leipfinger is a student in Regensburg and is recently doing his Master in German Philology after graduating in German Philology and Musicology. He joined the project in september 2015 as Co-author and is our specialist for male voices. His main interests cover operas from Richard Wagner and the verismo.

Christine Arnold, B.A.

Christine Arnold completed her undergraduate degree in musicology and dance science at Salzburg Universität in Austria and Newcastle University in England. Now she is proceeding her master in musicology and piano studies at the Folkwang Universität in Essen, Germany. Her musical interests are widespread but she counts Verdi's and Mozart's operas to her favourite ones.

Katharina Schiller, B.A.

Katharina was born in Munich and started studying Mathematics/Physics and Musicology there in 2010 and 2011 before moving to Salzburg and continue her studies there. She is a singer herself (choir and solo) since 1995 and is visiting operas regularly. Katharina is our specialist for 17th and 18th century opera.

Genevieve Arkle B.A.

Genevieve Arkle is completing her Master’s in Musicology at King’s College London and in September will be starting her PhD in Music at the University of Surrey. She focuses her academic work in late nineteenth century aesthetics and analysis, and will be writing her PhD project on Mahler’s Ninth and Tenth Symphonies and their relationship with Wagner’s Parsifal. Alongside her academic studies, she has worked with the Royal Opera House with the Jette Parker Young Artist’s Programme and for the English Touring Opera contributing to their Autumn 2015 season and working as Programme Editor of their Spring 2016 season. Most recently she was invited to be a guest writer and journalist for the Orchestra of the Age of Enlightenment for their performance of Mahler’s Second Symphony, contributing programme notes and interviewing Mezzo-Soprano Sarah Connolly.